Posts Tagged ‘tribes’

As of this past Monday, September 15th, I am pleased to announce that with your generous support and encouragement, this Kickstarter project is done and delivered! It’s been a wonderfully challenging year and a half of research, writing, design and illustration for these 36 illuminated blessings including the interactions with all of you throughout the process.Recently, I’ve been asked whether another edition of blessings will follow to bring us closer to the originally intended count of 100. Perhaps, if there are a significant number of requests for it. But for the moment a bit of recovery is in order as I contemplate a short list of options (which include both Judaic and secular themes) for my next project. Your questions and suggestions are welcome! Again, thank you allfrom the bottomless-ness of my creative well: I look forward to continuing our creative conversations and collaborations!

Though I am not fluent in French, the classic aphorism, ‘plus ça change, plus c’est la même chose’ (the more things change, the more they remain the same) seems particularly relevant with regards to Korah, the Torah portion from the Book of Numbers (BaMidbar) that will be read this Sabbath. This particular parashah is memorable to me personally, as it marks the Bar Mitzvah of my eldest son in 1988 and the beginning of the thought process and research that would become my book, Between Heaven&Earth: An Illuminated Torah Commentary(Pomegranate, 2009). As the story recounts the challenge made by the Levite Korah to the divinely ordained authority of his cousins Moses and Aaron, it reminds us that the often smarmy dynamics that characterize ‘modern’ politics has barely changed in 2.000+ years. From the AfterImages section of this book which also includes footnotes for the sources, here is an excerpt of the interpretation for the illustrations shown above and below:

“In The Price Of Power, we see the blue-robed Korah ben Izhar, a wealthy, prominent Levite. Despite his influence as cousin to Moses and Aaron, he craved more power and determined to challenge the authority assigned to them over the Israelites. He gathered 250 men with ambitious agendas of their own, and outfitted them in luxurious tallitot (prayer shawls) made entirely of blue wool. In a mockery of the ‘one-cord of blue’ commandment (Shelakh-Lekha), Korah, exhibits a serpents’ forked tongue as he and his party arrogantly confront Moses and Aaron with a cunning argument for the equal holiness of all the Israelites.

Yet, for such a clever man, he seemed unaware that challenging God’s wisdom would have dire consequences. The Mishnah describes the violent ‘earthquake’ that swallowed Korah and his men as the ‘mouth of earth’, one of ten mystical things created before the first Sabbath of the world. The copper firepans (upper left) had once held incense offerings. These were obligatory when Korah requested the meeting with Moses and Aaron. They were all that remained of Korah’s party. The firepans were later gathered by Eleazar, Aaron’s son to be melted into plating for the sacrificial altar– a legacy of this tragic event. Louis Ginzberg in Legends of the Bible suggested the disgruntled sun and moon. They, too, challenged God and refused to voluntarily perform their duties if He levied punishment on Korah and his men. Ever after, sun and moon must be prodded into their daily cycles. With linguistic irony, the three Hebrew consonants in Korah’s name translate as ‘kereach’ or’ice’ and also as ‘bald’, both meaningful descriptions of his nature. The ‘ice’ refers to his cold, logical approach to spiritual matters while the ‘bald’ recalls the ‘bald spot’ he left among the Israelites when the earth swallowed his followers.

When Korah challenged the right of Aaron to be High Priest, The Ark Of Judgment was employed to providea test of faith in response. One of its k’ruvim sits on top of the Ark holding eleven barren staffs, each carved with the name of a tribe. The other keruv holds the staff of the tribe of Levi, which has put forth almond blossoms and fruit, confirming the choice of Aaron as High Priest of Israel. Aptly characterizing this tale is an unusual feature of Aaron’s staff: its dual fruits of bitter and sweet almonds. One variety begins sweet and turns bitter, like most disputes while the variety that begins bitter, but yields sweet fruit is akin to the achievement of peace. The motif on the shekel coin below commemorates the miracle of Aaron’s staff. The almonds in the hands below Aaron’s crown demonstrate that their name in Hebrew, ‘shaked’is a permutation of ‘kodesh’ meaning ‘holy’: proof that God had chosen Aaron to bring holiness to the world.”

So where does that leave us now? In a metaphorical desert, I suppose; forced to define our own sense of morality in the face of our own media-driven misinformation campaigns. Then, as now, personal wealth and smarmy charm were exploited to secure a position of leadership with intentions that were far more self-centric than concerned with the spiritual and physical well-being of those who would be led. The major difference between now and then is the absence of a Divine Presence to dramatically balance the scales of justice, unless you naively believe that those who would rule us have a hot-line to Heaven.

As always, I am surprised at how the stories and lessons in the Torah are able to transcend their times and reach into our own. Understanding how requires projecting and transposing their symbolism into our present era. This week’s reading, ParashahBeha’alotekha , addresses a range of instructions and events in the Israelites’ post-Exodus sojourn that include Tabernacle/Mishkan rituals for the Levites (priestly class) and the establishment of a second Passover (Pesach Sheni) for those who were not permitted to participate in the first one due to ritual impurities. These are further detailed in the AfterImages section of my book, Between Heaven&Earth: An Illuminated Torah Commentary (Pomegranate, 2009)

Today, I’ve decided to focus on a third element that is also addressed in this parashah; the events caused by the sometimes tragic disconnect between what we remember and what is. The images above are selected from the illustrations for this parashah and presented here with a brief explanation of their symbolism.

The figure floating above the sand is an allegory for some of the Israelites who have come perilously close to idolatry in their weariness and boredom with the abundant supply of manna (buried in the sand). I imagined them as a hybrid creature of man and fish; a parody of the pagan fish-god Dagon angrily demanding meat while voicing idealized memories of Egypt’s plentiful cuisine. He is holding a backwards-facing letter ‘nun’ that appears twice in this section of ParashahBeha’alotekha, surrounding the account of the Israelites leaving Mt. Sinai and their subsequent rebellious demands. Rabbi Shlomo Efraim of Luntchitz, also known as the ‘Kli Yakar’ explains this phenomenon. In the Aramaic language, the word for fish is ‘nune‘. A fish instinctively turns towards water, as it understands where it can remain alive. Conversely, the Israelites, in their eagerness for the Promised Land, left Mt. Sinai without remorse, turning away from their source of life; acting metaphorically as a backward ‘nune‘ or fish. God’s retribution for their attitude comes at Kivroth HaTaavah (also called ‘The Graves of Craving’), a day’s march from the Sinai wilderness. A multitude of quails descend on the camps, sating their hunger, but leaving behind a devastating plague. Accordingly, the second backwards nun appears just out of reach near a hand protruding in the agony of death. A discussion in the Talmud (Babylonian Talmud, Tractate Yoma 75b) offers a mystical foundation for God’s choice of quails as meat. This type of bird is naturally saturated with fat and oil. Oil, in mystical texts is often compared to the sefirot of Chochma, or wisdom. So the oily quail meat may have been an altruistic attempt to impart wisdom to the Israelites, but one that failed since they were too attached to their own bodily needs to attend to their spiritual needs.

Moving forward, I find a potential parallel between those ancient Israelites and our religious fundamentalists, politicians and the wealthy 1% who support them. In their ideological nostalgia for the 1950’s, an era of burgeoning national prosperity and civic growth fueled by two disastrous world wars, those fatalistic desires have become a foundation of quicksand beneath us, eroding moral behavior, political and social balance within a gravely ailing economy. Despite the often clairvoyant voices of media pundits and commentators, we seem stuck in that quicksand. Like those unfortunate Israelites eager to satisfy their hunger, we too are enslaved by our creature comforts and the tantalizing consumer culture we’ve created that enables them.

Nevertheless, I believe we have the potential to be better than our material needs by looking inwards and trying to understand the essence of our humanity that such materialism is decimating. Do we truly need the latest SUV, grand McMansion or expensive ocean cruise? If so, why?

Despite my conviction that works of art and literature, always contain the potential to become a work in progress, I am invariably surprised to find proof of this continual process of awakening and learning. Tomorrow, as we begin the Book of Numbers (BaMidbar), it is nearly three years after the publication of Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009). Though I created illustrations for Parashat BaMidbar based on narrative with some artistic license, I recently wondered why Parashah BaMidbar (In The Desert) was designated as the Torah reading on the festival of Shavuot when it opens on the census of Israel, and focuses on tribal positions around the Tabernacle along with the rules regarding service of the Levite priestly class rather than the actual receiving of the Law from Mt. Sinai.

The parashah states, “Hashem spoke to Moshe in the desert of Sinai” (BaMidbar 1:1),for which the Midrash (BaMidbar Rabba 1:7)offered this metaphorical explanation: “Our Sages have inferred… that the Torah was given to the accompaniment of three things: fire, water, and desert” (Bamidbar Rabba 1:7). Though I am aware of the concept of mystical, elemental underpinnings within the desert sojourn, a 2010 commentary by Rabbi David Pinto, ShLIT”A provided some further clarification:”It may be that by this teaching, the Sages wanted to show man that he can only safeguard his learning and resist the evil inclination, which seeks to control him every day, by means of the Torah which possesses these three characteristics. As our Sages have said, “I created the evil inclination, but I created the Torah as its antidote.” (Kiddushin 30b). “Since the evil inclination is made of fire,…a person can only resist
it by the power of Torah, which is compared to fire… The evil inclination is like a small fire that anything can extinguish, and the Torah is a blazing fire that never goes out…thus the fire of the evil inclination is consumed by the fire of the Torah…In order for a person not to grow proud on account of the fire of the Torah, he must humble himself and resemble water. (Ruth Zutah 1). This is why the Sages instituted the reading of Parsha Bamidbar prior to Shavuot. It is in order to remind us that the Torah only endures in us when we metaphorically transform into a desert (perhaps a receptacle) for G-d’s will.”

Wow. I guess that’s about as close as we’ll come to a ‘user’s manual’ for the Torah, whose full meaning and that of the events surrounding its debut will (hopefully) continue to be interpreted for many generations to come. Whether or not you agree with these ideas, apathy is not an option…

Since 2012, corresponding to the Hebrew year 5773 is a leap year, several of the fifty-four Torah portions are read together so that the differences in these calendar systems may be reconciled. This week, we pair reading of the final two chapters of the Book of Exodus, VaYakhel and P’kudey. Commentary for the images in this post are from my book, Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009).
With Divine Spirit, above, again shows us the master artisan Bezalel working to complete his design and construction of the desert Tabernacle (Mishkan). Here,he is holding one of the results of his ability to permute the letters of the alefbet. The object is the Choshen, the breastplate to be worn by Aaron, the High Priest for the services in the Tabernacle. It is described in one of the sections of a work called ‘Choshen Ha-Mishpat‘ (Breastplate of Judgment) and with some reservations is attributed to the 13th century rabbi and scholar Bahya Ben Asher. The Choshen‘s threads are of crimson red, purple and blue, the three signature colors of all fabrics used in construction of the Tabernacle and priestly garments. Woven into it are twelve stones set into gold frames, each engraved with one of the names of the twelve tribes of Israel. They are arranged in the birth order of Jacob’s twelve sons and in four rows of three stones. Each row is in honor of the Four Mothers, Sarah, Rebecca, Rachel and Leah.
The Choshen and two carbuncle ‘shoham’ stones, also engraved with the tribal names, are attached to the shoulders of the Ephod portion of the High Priest’s garment. These appear in the illustration of Aaron for the Parashah T’Tzavveh. The twelve stones, listed on page 144 in the AfterImages section of the book, are:

According to Louis Ginsberg’s Legends of the Bible, Bezalel had the assistance of a special creature to construct these items. It was the tiny Shamir, (shown above Bezalel’s right arm) a worm-like creature that appeared in the evening of the sixth day of Creation. The Shamir was endowed with the unique ability to cut through impermeable materials like gemstones. Beneath the Shamir worm are two objects called the “Urim v’ Tmimim.” The appearance and function of these objects have generated much conjecture. Generally known as ‘oracle stones’ they were placed in the fold of the High Priest’s breastplate. Their alleged prophetic powers allowed him to focus on a specific problem or situation. He would then either obtain a vision or perceive combinations of letters with which he could determine the solution.

Behind Bezalel stands Oholiab, son of Ahisamach of the tribe of Dan, the co-worker assigned to him by God. The scales on his worktable symbolize his tribe and his honest artisanal skills. Oholiab is preparing the gold plate (reading “Holy To The Lord”) that will be attached by a blue cord to the High Priest’s helmet (on the table to his left). Finally, the ‘Parokhet’ or inner curtain for the front of the Ark of the Covenant is shown in the background. According to Parashah T’rumah, “You shall make a curtain of blue, crimson and purple yarns, and fine twisted linen; it shall have a design of K’ruvim worked into it.” Though I have included the specified colors in the image, I have also taken artistic license with the background of the curtain by adding the apotropaic eye in the center.
In The Wedding Of Heaven And Earth, above, under the canopy of Heaven, the Shekhinah, God’s feminine aspect, lifts her hands to bless the people in this symbolic ‘marriage’ between God and Israel. The ‘Bridegroom’ in this union is the Ark of the Covenant. Shekhinah wears the Crown of Paradise with golden pomegranate trees. Her sephirah of Malkhut or earthly monarchy is prominent at the base of the crown. A tiny chuppah adorns the large ceremonial wedding ring held aloft by the K’ruvim on the Ark. Her ‘feet’ resemble the cloven hooves of a calf from the bizarre four-faced ‘Chariot’ creatures in the Prophet Ezekiel’s vision. The full description of this vision appears in the haftorah reading for the Festival of Shavuot.

Below, The Guardian Of The House of Israelimage concludes the Book of Exodus.
It depicts the completed Tabernacle (Mishkan) in the desert surrounded by the tents of the Twelve Tribes of Israel. The color of each tent reflects its corresponding gemstone in the High Priest’s Choshen (Breastplate). Although the text of this Parashah initially seemed to require two illustrations, I imagined an enormous angel bearing both symbols of God’s Holy protection. He wears a head covering that resembles a medieval liripipe. Suspended from its ‘tail’ is an alchemical glyph representing two elements of Creation: air and fire. Finally, I have shown the Pillar of Fire in the form of a Ner Tamid or ‘Eternal Light. The burning bush within recalls the Covenant at Sinai while its chains incorporate the heads of korbanot (Temple offerings). The Ner Tamid has occupied a place of honor over the Ark in synagogues worldwide illuminating our memories of the original Tabernacle that guarded and inspired our ancestors three thousand years ago.

Of all the fifty-four parashiyot in the Torah, Ki Thissa was the one that spoke most eloquently to me as an artist and illustrator, particularly as it relates how Moses transmitted instructions for building the desert Tabernacle (Mishkan) to the artist and craftsman Bezalel ben Uri. I was drawn to this story many years ago as I sought to understand the levels of meaning within the Second Commandment prohibiting the creation of graven images. In essence, it opened my eyes to the concept of hiddur mitzvah or the creation of beautiful objects to enhance the worship experience, rather than be worshipped as objects in themselves.

I have created several interpretive portraits of Bezalel, the first recorded Jewish artist, most recently the iteration shown here for my book Between Heaven&Earth: An Illuminated Torah Commentary (Pomegranate, 2009). From the AfterImagessection of the book on p. 151, here is an excerpt from my commentary on the illustration shown above:

In The Shadow Of God is drawn from the Hebrew translation of the name Bezalel, given to him at birth by his father Uri, son of Hur from the tribe of Judah. (Note the image of the Lion below the text next to Bezalel; it symbolizes the tribe of Judah) His full name reads, ‘Bet-Zal-El Hayaita which means ‘you were in God’s Shadow’ explaining his extraordinary artistic skills and closeness to the Creator so that he could envision the Heavenly Temple and accurately follow the directions for the construction of its earthly counterpart. He was tasked with this mission by Moses who transmitted God’s request upon his return from Mt. Sinai. In the Mishnah,Bezalel is credited as the man who was able to comprehend and configure the letters from which Heaven and Earth were created for this holy task. According to the Baal Shem Tov, founder of Hasidism, “All things were created through the combinations of the 22 Hebrew letters.” The open scroll that Bezalel is holding reveals a kabbalistic diagram, found in the Sefer Yetzirah, composed in 6th century Babylon, which connects letters in the Hebrew alefbet with the seven planets and twelve signs of the Zodiac. In the center of the diagram is a triangular form that contains the Tetragrammaton, an acronym for one of God’s Names. To avoid a disrespectful rendering of this name, a portion of one of the letters has been removed. At the corners of the triangle connecting it to the outer rings are the three Mother letters, alef, mem and shin that represent the elements air, fire and water. Although many graphic variations of these concepts can be found in the books of mysticism, I chose this particular diagram for Bezalel, as it seemed to invite creative interaction. Standing behind the craftsman with a model of the Mishkan on its back is a strange beast called the Tachash. The word ‘tachashim’ in parashah T’rumah, though translated as ‘dolphin skins’ finds a different interpretation in the Mishnah, which alludes to the creation and existence of this animal for the express purpose of providing materials for the construction of the Tabernacle. When its purpose was completed, it seems to have vanished.

Since no one knows if it actually existed, could the tachash have been a word to describe a collection of materials taken from several existing species or could it have been an unusual mutation truly created only for its holy purpose? In any case, it will always remain an intriguing idea and so the tachash shown here is purely from my imagination. By the way, these questions occurred to me long after my book was published, which only verifies my philosophy that art is always a work in progress and matures from continuing interpretation. So, if any of my readers would like to posit their own version or questions, send me your links in the comment box; I look forward to continuing this conversation…

The reading of Parashah VaYechi, the final chapter in the book of Genesis/Bereshit on this past Sabbath provides some interesting insights on the origin and often subversive nature of the corporate entity in human history. In the previous chapter, after a long Egyptian sojourn, Joseph as second-in-command to Pharaoh, receives news of his father’s failing health and rushes back to Goshen with his two young sons.

His brothers, the sons of the 147 year old patriarch Jacob/Israel with his wives and their handmaids are also summoned to their father’s deathbed to receive his final blessing. The old man however, is still playing favorites and grants a private audience to Joseph and his sons Ephraim and Manasseh. I can imagine the stressful vibe in that room, given their notable history of nasty behavior towards Joseph, their only sister Dinah and the people of the city of Shechem.

Nevertheless, their father elegantly couches his final blessings in a series of twelve verses which are uncannily prophetic analyses of his sons’ physical attributes and characters as well as the individual destinies of this band of brothers who will lead the twelve tribes of Israel to become the future Jewish people. In effect, the patriarch has laid the ground rules for history’s first corporation and suggested imagery for the logos that would represent each of the tribes. These visually rich verses, interpreted by many artists and architects who have incorporated them into architectural treatments of synagogues have also been a dominant inspiration for much of my work over the past twenty years. Beginning in 1986, I created three drawings called the Tabernacle Trilogy which included an interpretation of the verses. They can be seen at: http://www.magiceyegallery.com within the Judaica gallery. In 1987, a fellow artist, Helen Bittmann Sysko and I were commissioned by the Jewish Community Center of Pittsburgh to design a set of banners on the Twelve Tribes theme to complement the newly built natatorium (swimming pool). These remained in place until 2007 when they needed to be replaced due to the harsh chlorine and humid environment. At that time, Ms. Sysko had changed careers and no longer practiced her art, so I was asked to design and install a new, updated set of banners. The first set had been constructed of appliquéd parachute cloth while for the second set, I had my designs digitally printed on canvas. Examples of both are below:

1987 2007

In the illustration above, from my book Between Heaven&Earth: An Illuminated Torah Commentary (Pomegranate, 2009), the logos of the tribes are shown in their birth order: (left) Reuven, Shimeon, Levi, Judah, Issachar, Zebulun, (right) Naphtali, Dan, Gad, Asher, Joseph (Ephraim & Manasseh) and Benjamin. The colors of their Hebrew names correspond to the colors of the gems assigned to each on the choshen (breastplate) of the High Priest that will be seen in the next book, Exodus. These are listed and detailed in the AfterImages section of the book on pages 143-144.

Though Parashah VaYechi is replete with ideological corruption, dirty money and nepotism, it sounds disturbing familiar (no pun intended) as we are bombarded daily with the frightening lies and tragicomic discourse of the current Republican Primary that is a precursor to the coming 2012 election. Which of these logos would fit each of the current contenders; or pretenders?

Human sentience and survival may be characterized by our ability to perceive choices, act upon them and experience the consequences. This is amply demonstated in Ki Tavo, this weeks’ Torah portion. The image above is comprised of details from the full illustration that accompanies the parashah in my book, Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate 2009). The AfterImages portion of the book offers my interpretation of these images:

Ki Tavo, meaning ‘when you enter’, instructs the fledgling ‘chosen’ people regarding their physical and moral behavior as they enter and settle the land that has been divinely promised to them. In doing so, it clearly defines the concepts of good and evil through the mnemonic device of blessings and curses. Here are a man and woman each wearing a prayer shawl (tallit) that can be seen as a mnemonic device for remembering the commandments. Through the use of gematria, the Hebrew system for number interpretation, the medieval French Rabbi, Shlomo Itzhaki (Rashi), suggests that a tallit’s‘tzitzit’ or fringes descending from its four corners represent the 613 commandments or mitzvot. In this system, the Hebrew letters for the word ‘tzitzit’ (as spelled in the Mishnah) accrue to a value of 600, to which 8 and 5 (representing the strings and knots respectively) are added for a total of 613. Two of the major sefirot are represented on the man’s tallit; black for Gevurah or strength and white for Chesed or lovingkindness. The shadowy wings within the woman’s tallit are meant to symbolize her spiritual connection to the Shekhinah, or the feminine aspect of God. Behind the woman and man stand representatives of each of the twelve tribes who have been instructed to position themselves- six representatives from each, on two facing mountains (Mts. Ebal and Gerizim) separated by a valley. The color of each figure is based on their associated gem set into the choshen (breastplate) of the Kohen Gadol (High Priest). From the valley, with Ark of the Covenant in full view, they are able to hear Moses and the priests call out to them, alternating between blessings and curses to reinforce their understanding of good and evil and to ensure that the boundaries between them are never breached. This understanding is a major prerequisite for settlement in the Promised Land.

The two keruvim (cherubim), each holding a tree, hover above this tableaux. Unlike their position on the Ark of the Covenant, they are facing away from each other to emphasize the discord that ensues when good and evil actions become indistinct from one another. The left keruv’s luxuriant tree represents blessings or fertility when the Laws are properly implemented while the right keruv’s barren tree signifies the curses that will come to pass when the Laws are disobeyed. Finally, the word ‘Amen’ is seen above the priests because when we say ‘Amen’ after a blessing, we are binding ourselves in the light of that blessing and strengthening the bridge between the Upper and Lower worlds. The word ‘Amen’, calligraphically depicted in its positive and negative aspects emphasizes the tribes’ clear understanding and acceptance of both blessings and curses.

It is only when we make those choices that are equally cognizant of our faith in God’s beneficence, of our own needs and those of our compatriots that we deserve to be not the ‘chosen people’ per se, but the people who understand how to live with the consequences of each choice.

While divine utterances are said to be the foundation of Creation, it was only when Adam became tasked with creating names for the animals in Eden that humanity had its first opportunity to wield the power of words, thereby codifying the measure of their appearance and behavior. (Folk singer Bob Dylan wrote a charming ditty on this theme which occasionally surfaces when I am sketching at the zoo.) But this entry is less about Adam and his animals than about our increasingly casual misuse of the power of words in our Age of Infoglut. In Mattot, this week’s Torah portion, we are reminded of the potence of our verbal expressions and their ability to alter our perceptions and the nature of our current reality. An earlier post, on July 8, 2010 presented my interpretation of this parashah with the illustration that appears on the left-hand side of the spread. Today, you can see the facing image, titled ‘Properties And Promises’. Here are the leaders of the tribes of Reuben, Gad,and the half-tribe of Manasseh (son of Joseph), standing on the portions of land they requested from Moses after the war against Midian. Observing that these particular territories, though outside the boundaries of the Promised Land, would provide abundant supprt for their great numbers of livestock, they sheepishly added that their children would benefit from the security of the towns they would build there. Recalling the near-disaster of the meraglim (the ten scouts and their horror stories of Canaan), Moses expressed vehement concern that these tribes would influence the rest of the Israelites to settle elsewhere as well. Yet he granted their request under two conditions: these tribes must commit to serving as shock troops for the defense of Israel in their conquest of the Promised Land and must prioritize building towns for their families ahead of facilities for their flocks and herds. The object suspended above the middle figure, whose hand is raised in an oath, is a ner tamid (eternal light). A familiar presence in every synagogue, this lamp is never permitted to be extinguished for it symbolizes the eternal presence of G-d, Who hears our promises.

Perhaps, in the light of the current British tabloid scandal, Mr. Murdoch and his minions would do well to revisit and contemplate this bit of Bible lore. As my beloved paternal grandmother once observed: “Once the words are out of your mouth (or in print!), you don’t own them anymore.”

This excerpt is from my book, Between Heaven& Earth: An Illuminated Torah Commentary (Pomegranate, 2009) which can be purchased directly from the publisher, http://www.pomegranate.com/a166.html or from Amazon, amzn.to/gZSp5j where you will find several reviews.

Parashah Shelakh-Lekha, one of the best-known episodes in the Book of Numbers, concerns the twelve scouts, or spies, sent ahead of the Israelite camp to appraise the nature of the Promised Land. It is often compared to the Golden Calf incident of Exodus, in that both events were tests of the Israelites’ faith and trust in G-d, their leaders and themselves. When the expedition returned, ten of the men dramatically exaggerated what they had seen, in an attempt to discourage the Israelites from accepting their territorial inheritance. “We looked like grasshoppers to ourselves and so we must have looked to them.” In the left-hand illustration, the small hybrid grasshopper-man addresses the terror and trepidation the scouts disseminated. Perhaps, they calculated, their negative report would ensure positions of power for themselves among the people instead of encouraging the people to act with faith in G-d and in their own abilities? I have given this creature a tattoo in the shape of the Hebrew letter ‘mem’ whose numerical equivalent is forty because this incident doomed the Israelites to wander in the desert for forty years until a new generation arose that would be spiritually prepared to realize its divine inheritance.

The symbols that comprise these illustrations each tell stories of their own that are too lengthy to include here. They can be found on page 169 in the AfterImages portion of my book, Between Heaven &Earth: An Illuminated Torah Commentary (Pomegranate, 2009) It can be purchased directly from the publisher, http://www.pomegranate.com/a166.html or from Amazon, amzn.to/gZSp5j where you will find several reviews.

I welcome your comments and questions here at Imaginarius and will do my best to respond. Wishing you a thoughtful Sabbath and weekend…

A Petite Profile

Ilene Winn-Lederer, a native of Chicago, attended The Art Institute of Chicago and The Chicago Academy of Fine Arts. She currently resides in Pittsburgh, creating original imagery that navigates the delicate bridge between the mundane and mystical theaters of human experience. A member of the Pittsburgh Society of Illustrators, Winn-Lederer’s clients include The New York Times, The Wall Street Journal, Hadassah, NY., Lilith Magazine, Children’s Television Workshop, Scholastic, Charlesbridge Publishers, Simon & Schuster and Cricket Magazine. Her unique drawings and paintings are included in public and private collections throughout the United States and Europe. The Magic Eye Gallery at www.magiceyegallery.com showcases original works and custom
gicleé prints with a wink from her mind’s eye…